IT’S CURTAINS FOR YOU…CORDLE…CURTAINS…YA SEE?

We don’t read Harriet anymore.  It’s too dreary, too artsy-fartsy-friends-puffing-artsy-fartsy-friends, too boring.   But our man Gary Fitzgerald was kind enough to email us today to let us know that John Oliver Simon has not forgotten us.

Thanx, Gary Fitzgerald, John Oliver Simon, u rock.

Harriet, the Poetry Foundation Blog, who banned Thomas Brady, Alan Cordle, Desmond Swords, and Christopher Woodman at one stroke on September 1, 2009, is going through a little identity crisis at the moment: how shall I moderate?  How shall I banish?  Are those who post on my site a community?  Can posters police themselves?  What is my responsibility towards them, if any?

Before we start equating the firing on Fort Sumter (THE UNION IS DISSOLVED!) to the sarcastic squabbling between Kent Johnson, Michael Robbins, and Henry Gould and the current crop of boy scouts and girl scouts on Harriet, let’s remember that once a self-infatuated twit, always a self-infatuated twit.

Boyd Nielson suggested in a comment on a Harriet post recently that Harriet is a private blog  and can therefore ban and delete as she pleases. But instead of embracing this reality, Boyd Nielson continues, Harriet is failing to make her authority transparent, hiding behind proxies such as ‘thumbs up/ thumbs down voting’ and ‘report this comment’  to punish, to delete, to ‘hold for moderation’ and ultimately to ban, in a faceless manner that  is irresponsible, cowardly, and weak.

Scarriet (ya got somethin to say, say it)  is blissfully free of this.

To Harriet’s “identity crisis,” and to all the winding, administrative hair-splitting discussion it might elicit, we say: pffft.

Self-important Harriet, and other blogs like it, will 1) banish, 2) delete posts reporting the banishment, and 3)  delete posts complaining of those deletions and 4) practice this for infinity, a black-hole-ish, whirling cesspool of censorship.

Paul McCartney will play a concert for Harriet, and their devoted acolytes will sing:

Well, the rain exploded with a mighty crash as we fell onto a limb,
And the first one said to the second one there, I hope that you can swim!
Banned on a whim!  Banned on a whim!

Private enterprise is wonderful and Harriet’s status as a private club allows her to throw bums to the curb with impunity.  But merely being private is not the great thing, by any means.

Private enterprise is not wonderful because it allows Harriet, the private club, to throw to the curb whomever she chooses, for if it stopped there, ‘private’ would be synonymous with ‘tyranical.’

Scarriet’s existence fills out the formula of private enterpise as something truly good.  The private by itself is not good, nor is the private masking itself as the public good, either.

It is only competing private entities which allow for something truly wonderful: real freedom, real debate, sweet discovery, hot thrills, trembling chills, and freezing kisses, warm and exciting.

Ya got dat?…Travis…ya dirty rat…

NEWS, NEWS, READ ALL ABOUT IT: ANNIE BUNDLED OUT OF HARRIET!


Off with her head!” the Queen shouted at the top of her voice. Nobody moved.

“Who cares for you?” said Alice (she had grown to her full size by this time). “You’re nothing but a pack of cards!”

At this the whole pack rose up into the air, and came flying down upon her; she gave a little scream, half of fright and half of anger, and tried to beat them off, and found herself lying on the bank, with her head in the lap of her sister, who was gently brushing away some dead leaves that had fluttered down from the trees upon her face.

~

Robert Burns and J.D.Salinger have indeed been blathered, and despite Annie Finch’s best intentions, both on Harriet and Scarriet, and our own attempt to bridge the divide as well (we were yet again deleted for our efforts!), Harriet remains in the dumps, otherwise known as denial.

Here’s what Harriet sounded like last summer:

Great to see this here, posted ipso facto in honor not only of of Salinger’s deathday but also of Robbie Burns’ birthday two days earlier–for those who don’t know, a huge national and global celebration of the poet and of Scotland. It’s one of my favorite Burns poems (I have another posted for the occasion at my blog AmericanWitch http://annieridleycranefinch.blogspot.com/)

This has one of the best singing tunes of any of his poems imho, and it is one of the relatively few where female sexuality is celebrated in its own right..it really feels like a poem that could have been written by Jenny herself, coming through dew-wet fields early in the morning to slip into bed after a night out. Thanks, Travis!

POSTED BY: ANNIE FINCH ON JANUARY 31, 2010 AT 11:37 AM

This is, in fact, a comment Annie Finch posted on Harriet a week ago in a vain effort not only to make a discussion on Burns and Salinger more relevant but to breathe some life back into the moribund Poetry Foundation community.

And did she succeed? Did she strike a chord, arouse some enthusiasm for poetry, get some rewarding feedback?

Hardly. The following is the only subsequent comment after Annie Finch’s generous, warm, independent and sexy brave effort:

Just because Salinger died.

Stephen

POSTED BY: STEPHEN STURGEON ON FEBRUARY 1, 2010 AT 1:28 PM

In other words, a good kick up the backside!

~

And as if that weren’t 52 Pickup enough, here’s the latest spectacle in The Poetry Foundation’s limelight, yes, right up there to welcome you on Blog:Harriet’s masthead. And you bet how Travis Nichols is glad-handing the regulars —  tailors, courtiers, and suckers!

FRED MOTEN
5
At circle time on Thursday, Lorenzo declared that when he makes smores for Julian (which I wasn’t aware that he’d ever done) he makes them with bricks, sticks and snow.

CONTINUE READING THIS ENTRY » 02.06.10 PERMALINK | NO COMMENTS

FRED MOTEN
4
A lot of it is just trying to figure out how to say something. How to read. Not how to offer a reading, or even an interpretation, but a performance of a text, in the face of its unintelligibility, as if one were forced/privileged to access some other world where representation and unrepresentability were beside the point, so that the response to the terrors and chances of history were not about calculation, not bound to replicate, even in a blunted and ethically responsible way, the horrors of speculation, where new materialities of imagination were already on the other side of the logic of equivalence.

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FRED MOTEN
B 3
Dear Evie,

Remember when we read together in November, and afterwards you asked me about a particular poem of mine, and seemed to wonder, rightly, why my reading of it didn’t acknowledge or account for the spacing of/in the poem? I figured that question was a statement and you were right. Philip’s theater is this fragmentation of the sentence and the word, where every fragmentation is also an augmentation, bespeaking multiplicity.

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FRED MOTEN
Backlog 2
The commitment to repair is how a refusal to represent terror redoubles the logic of representation. The refusal of our ongoing afterlife can only ever replicate a worn-out grammar. The event remains, in the depths. The event-remains are deep and we stand before them, to express them, as their expression.

CONTINUE READING THIS ENTRY » 02.06.10 PERMALINK | NO COMMENTS

FRED MOTEN
Backlog
I didn’t stop logging, I just stopped posting. I think I got waterlogged from not being able not to try to get too deep. I got into some kind of double trouble from blowing bubbles, I guess. Anyway, here’s some more stuff, along the lines I promised, though I might want to make another promise now. The other thing is that this is driven by the chance to see some of Hong-An Truong’s film and installation work and from reading Gerald Barrax’s poetry and from a friend sending me the catalog from the Xenakis exhibit at the Drawing Center in New York. I just wanted to mention these not in order to provide the key to what I’ve been trying to write but just to commend them all to you because they are beautiful! As is Beth at the Jordan Lake School of the Arts, refuge for the new X-Men, where the superkids go to play. OK: back to my misbegotten ideas on poetics, in approximately 300 word installments.

CONTINUE READING THIS ENTRY » 02.06.10 PERMALINK | COMMENTS (1)

Christopher Woodman

WHAT’S WRONG WITH HARRIET’S COMMENT STREAM IN THIS PICTURE?


To access our initial graphic of the man peeing in the stream,
click here — and unlike Harriet, let’s discuss it!

Congratulations, Harriet.  You’ve managed your first 100 comment thread since you diverted the waters to Scarriet 5 months ago, but look out for your malodorous ditch!

Has anyone forgotten just how much water was flowing in your streams before the September 1st blockage? Just look at the raw statistics. Back then there were even 200+ threads — and 100 was quite normal, the streams were so clear and intense.

And now? Just look at the Jan. 25th article, “Poetry & Gender: Why Don’t More Women Do Blog Oriented Writing?” C. Perez sets it up like this, and in bold no less:

“questions: do you think women’s self-promotion in poetry differs from men’s self-promotion? what do you do to self-promote your work? are certain kinds of self-promotion gendered in identifiable ways?”

Gender differences in self-promotion?   LOL

Yea, this is why I’m a poet.   To contemplate issues like this.

The discussion quickly devolves:

“having grown up in a mostly athletic blue collar fraternity house atmosphere, crazy as this is going to sound, i came of age believing that the creation of any art, especially the writing of poetry, is for sissies. “

POSTED BY: SASSJEMLEON ON JANUARY 25, 2010 AT 2:45 PM

First Amber Tamblyn.   Now this.

“I always feel ashamed, in my blog (not this one, my other one — see, it feels wrong even to write the name of that other blog!), if I directly mention a publication, or a book that’s come out.”

POSTED BY: BHANU KAPIL ON JANUARY 25, 2010 AT 2:58 PM

ZZZZZZZ   At least the ‘sissies’ comment was slightly controversial.

Half the comments on the thread are by 3 people, ‘blue collar,’ the writer of the post, and a blogger named Greene.

So there’s this:

@All: This is the most fun comment thread I’ve had in…I mean jeez, you guys can all spell! Shoulda hung out with other writers more all these years, I guess…

POSTED BY: PETER GREENE ON JANUARY 26, 2010 AT 11:37 AM

And finally:

“I’m not sure why you guys are bothering to engage with this obviously very myopic and ignorant blog troll. He is insulted by affirmative action and thinks women have more time to write because they’re housewives… why is that worth engaging?”

POSTED BY: JESSICA SMITH ON JANUARY 28, 2010 AT 2:13 PM

Oh boy.

The Poetry Foundation blog may be a very dull place these days, but let’s look on the bright side.

Travis Nichols doesn’t have to invent clever ways to suppress discussion.

John Oliver Simon doesn’t have to be exposed to ideas he doesn’t agree with.

And that’s a good thing, don’t you think?

POETRY BELONGS TO POETS, NOT INSTITUTIONS

Poetry should belong to poets, not institutions.

Trying to enrich poetry with endowments and gifts is pointless.

Poetry is not like a highway or a school; it doesn’t require funding like that.

Popular appeal is, we feel, an important resource, one which poets once used, but which has dried up due to institutional machinations.

Poetry in China was a required skill for government employees for years. But this was not some charity move to enhance poetry; poetry was seen as a legitimate part of a well-rounded person.

Poetry has historically been a subject in school, but not because efforts were being made to give poetry special protection; poetry, as it existed, was a worthy example for those studying language and history.

Now the cart is before the horse. Poetry does not drive human excellence as an independent force; it is a mere charity case.

Treated as a charity case, this is what it has, in fact, become.

It is precisely the idea that poetry needs special institutional support which prevents poetry from retaining its former glory, since the resource of popular appeal is barred from the poet unable to compete with institutional might.

We cannot get our minds around the fact that billions of dollars of institutional support for poetry has actually hurt poetry.

If you took all that money away, and allowed the poet who appeals to the people to triumph—just allow that process to play out—there’s no telling how much more important poetry would be to us as a culture. Were the muse permitted to be on its own and survive through poetry’s appeal to the public alone, there is no telling how this might enrich us as a people.

Let there be a genuinely popular poet, rather than ten thousand endowed poets, and let us see what follows. We don’t know what that poetry would look like in this scenario, because it hasn’t been allowed to exist. We’re not talking about a Robert Frost either, who was in some ways an institutional product, and somewhat popular as well. We’re talking about a Robert Frost x 100.

How would poetry flourish without any institutional support? Let’s see what poetry would look like, that in order to survive, must intoxicate the masses.

IMITATION IS FLATTERY — COPYING IS PATHETIC.

As everybody who’s interested in poetry  knows, The Poetry Foundation has banned me, Alan Cordle, along with Christopher Woodman, Thomas Brady, Desmond Swords, and who knows how many others.  So it seems odd that staffers there incessantly and obsessively read this blog and our side projects.

Granted, they seem to be out of ideas and desperately unable to encourage dialogue, and the statistics are certainly painful.  It’s no wonder they’re now “borrowing” from Scarriet.  And by borrowing, I mean “stealing.”

On December 8, 2009, The Poetry Foundation published the following article by Abigail Deutsch:


___________________________________________________________

This would have been fine if Scarriet’s Thomas Brady had not published a post entitled The Good Bad Poem just 10 days earlier.

___________________________________________________________


___________________________________________________________

“This is no coincidence,” Thomas Brady tells me.

“My article originated because I happened to take an old book out of the library, it wasn’t from any current event . . . Abigail got her idea from Scarriet. Well, well, well. I’ve commented on it just now on ‘The Good Bad Poem’ on Scarriet.”

New Year’s Resolution for The Poetry Foundation and Harriet: stop preying on the intellectual property of Scarriet. After all, some organizations make plagiarists walk the plank.

Others just vaporize the opposition!

Alan Cordle

HARRIET GOES DIRECT: DON’T JUST HIDE, DELETE!

Harriet has just lost its last shred of dignity. The recent Comment posted by W.F.Kammann on December 21st has been deleted.

All the Comment  said was that for a more balanced and in depth look you might want to check something else out, a piece of information Travis Nichols obviously felt was too disturbing for the Harriet readership.

We wonder how Gary B. Fitzgerald and Margo Berdeshevsky feel about this new move, both having expressed such relief at the decision to lift the Like/Dislike regime which had so spoiled Harriet for them  since September.

Do you feel this is better,  Gary and Margo? Do you feel relieved that the velvet glove has come off at last, and that there’s no more pretense at openness or respect for opposing views?

Can The Poetry Foundation not accept the fact that the real world is full of contrary opinions, not to speak of poetry? Will there be no more awkward discussions in the lab of  Travis Nichols’ new “experiment?” Is that the idea, to surrender all our differences as well as our hopes for a better world?

Dah Daa. Enter The New Thing!

GOLDEN GLOBES SNUBS KEATS FILM ‘BRIGHT STAR’

Jane Campion’s gorgeous film, Bright Star, as noted here on Scarriet  [click here and here for our 2 articles], was hardly discussed on the Poetry Foundation’s Blog:Harriet  despite the well-written and timely article by Abigail Deutsch [click here] — yet another example of the failure of Harriet  to discuss anything to do with poetry after the blood-letting of September 1st.

We at Scarriet  had a feeling this sobering, sad, but breathtakingly beautiful effort on behalf of the poet John Keats and his friend Fanny Brawne, by one of the best directors in the business, would be ignored by the entertainment industry’s honoring system as well.

Avoiding every pitfall of the Hollywood bio-pic, Bright Star  features an intelligent script, extremely moving performances by Ben Whishaw, Abbie Cornish, Kerry Fox, Paul Schneider, and Edie Martin, (as Fanny’s little sister) and  is a feast for the eyes and ears.

The old days, when films such as Amadeus and Room With A View earned major nominations and awards, seem to be gone.

Let’s skip the rant on the increase of cultural ignorance—for such a thesis could only be a rant.

We’ll just recommend you get the CD soundtrack, or see Bright Star, with its moving depiction of Keats,  Charles Armitage Brown, Fanny Brawne and her family.

And switch from Harriet to Scarriet, of course, to stay abreast of what’s really happening in poetry!

TRAVIS NICHOLS PLAYS HIS FINAL CARD, AND THE THUMBS ARE DOWN AT LAST!


“…to-day the editor of Harriet holds a show of his own, and wins applause by slaying whomsoever the mob with a turn of the thumb bids him slay…”
……………………………………………loosely adapted from Juvenal, Satires (III.36)

For a beautiful example of everything George Orwell tried to expose in Politics and the English Language, read The Poetry Foundation’s letter just posted on Blog:Harriet [click here]

In the Letter, the Editors try to cover up the appalling mess Travis Nichols made out of what had been one of the most vibrant poetry discussion sites in America.

Today Harriet is at Zero!

Yes, the Like/Dislike thumbs are down at last, having served their purpose — which was simply to remove four figures, Thomas Brady, Alan Cordle, Desmond Swords and Christopher Woodman.

Now with Harriet on her back in the blood soaked dirt, weakly raising her left hand for mercy, Travis’ hysterical fans indicate no mercy — and the stunt becomes a fait accompli. Harriet is dead now for sure.

Of course there’s no mention of any of that in the letter. Just spin, faulty figures, bluff, and bravado — like the last administration on the state of Iraq in the months following the invasion!

Indeed, not one word of this Poetry Foundation letter is truthful. Like the stats in it — foully cooked! Everybody knows you can cut the stats on a blog in a thousand different ways, and not one of them will give you a true figure. Travis has cut the Harriet stats all in his own favor — and just look at him up there in the picture to see where he’s at!

And dear Catherine Halley, the On-Line Editor at The Poetry Foundation, you should be ashamed to add your signature to that letter. You did your best to prevent the debacle, we know that, and are tremendously disappointed in you for capitulating now.

We’d love to post a list of the myriad voices who have vanished from Harriet since the ugly puscht, lending us their support through their silence.  Those of you who know the Blog can trot out their names with ease. Their absence cries shame on you, Travis and Catherine. Shame on your petty vendetta.

And shame is the word.

Thomas Brady,
Alan Cordle,
Desmond Swords,
Christopher Woodman

HARRIET at the MARRIOTT


_____________________________________________________

Dear Friends of Scarriet,………………………………………….November 25th, 2009

Just to remind you on the eve of Thanksgiving that we the undersigned were banned from Blog:Harriet three months ago for writing too much and too passionately about poetry. Yes, and on the very same day that we found, not by direct communication but by trial and error,  that we were no longer welcome on Harriet, Travis Nichols welcomed Amber Tamblyn as the new generation Contributing Writer.

As a preliminary to our big THANKSGIVING POST (coming up next!), we offer this as a sample of the commentary Travis had in mind for the new Harriet. Can’t say we wish we weren’t there, but then we’re very glad so many of you have decided to be here with us on Scarriet instead.

(Sort of comes down to Mt.Parnassus or the Marriott. But let’s be clear about that too — it’s not that the Marriott ought to be shut out from the Poetry Foundation’s goal to “foster and cultivate an open community” (see the P.F. Guidelines just above), but neither should Parnassus!)

Thomas Brady
Alan Cordle
Desmond Swords
Christopher Woodman

MONTY MEETS A FOET AT THE DOOR

Dear Friends,
We know we’re very near the edge of copyright infringement here, but hope Jim Meddick will allow us to make a point that’s so hard to get over without getting someone like him involved. For Jim Meddick’s satire is truly rare, and his angles on our contemporary prejudices and ugly little blind spots so invaluable. We have so few allies who have the wit and courage to explore the inexplorable today, which after all used to be the province of our poets too until they took the vow to make it new!

As a frontline artist, we feel sure Jim Meddick will forgive us in the hour of our need!

MONTY HEADLINEMONTY 11.16
………………………………..copyright  Jim Meddick/dist. by NEA, Inc.

So this is who we are at Scarriet and what we stand for:

Frequently in human discourse, the tenets of faith provide a sacred style and language which survives long after the contents have ceased to make sense or to convey any comprehensible message — if indeed there ever was one. At that point all societies, even developed ones, create the myth of a golden age when the truth was recorded, and the style and language of those “scriptures” are situated beyond enquiry what is more reproach.

When Thomas Brady opens the door, this is what he hears. The Poetry Establishment, which looks and sounds just like Jim Meddick’s little Ezra Pound at the door, also speaks of “the way of truth… and self-esteem… and personal fulfillment… and Uh… um…”

But the punch line today is a little different, because we now believe in anything “new.” When Thomas Brady asks, as he does in his previous article on William Carlos Williams, for example, “You’re making all this stuff up, aren’t you?” the poetry establishment gets very angry and dismissive. “How dare you!” they shout. “Why,  this is modern scripture! This is what Ezra Pound laid down for us to make us modern! This is what we are and why we’re truly New!

Then they beat him with -32 Dislikes, and when even that doesn’t discourage him, just pull the plug.

What’s so tragic is that human beings can always talk about things, exchange ideas and brainstorm, but even at a noble not-for-profit arts organization like The Poetry Foundation, if the material has become the stuff of faith, forget it. Then the dissenting voice is drowned out by the furious congregation and censored by the priests, and only when the dust has settled can something fresh, old or new yet equally crying in the wilderness, be heard.

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